Infinitely Losing My Edge
Yeah, I'm losing my edge.
I'm losing my edge.
The kids are coming up from behind.
I'm losing my edge.
I'm losing my edge to the kids from Nepal and from Spokane.
But I was there.
I was there in 1968.
I was there at the first Can show in Cologne.
I'm losing my edge.
I'm losing my edge to the kids whose footsteps I hear when they get on the decks.
I'm losing my edge to the internet seekers who can tell me every member of every good group from 1963 to 1979.
I'm losing my edge.
To all the kids in Taipei and Copenhagen.
I'm losing my edge to the art-school Portland kids in little jackets and borrowed nostalgia for the unremembered nineties.
I'm losing my edge.
I'm losing my edge.
I can hear the footsteps every night on the decks.
But I was there.
I was there in 1987 at the first Nirvana practice in a loft in Seattle.
I was working on the chamberlin sounds with much patience.
I was there when Donald Fagen started up his first band.
I told him, "Don't do it that way. You'll never make a dime."
I was there.
I was the first guy playing Althea and Donna to the electroclash kids.
I played it at the Astoria.
Everybody thought I was crazy.
We all know.
I was there.
I was there.
I've never been wrong.
But I'm losing my edge to better-looking people with better ideas and more talent.
And they're actually really, really nice.
I'm losing my edge.
I heard you have a compilation of every good song ever done by anybody.
Every great song by Sparks. All the underground hits.
All Johnny Clarke tracks. I heard you have a vinyl of every Peter & Gordon record on German import.
I heard that you have a white label of every seminal disco hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '90s.
I hear you're buying a chamberlin and a güiro and are throwing your macbook out the window because you want to make something real. You want to make a Bootsy's Rubber Band record.
I hear that you and your band have sold your harpsichord and bought an oboe.
I hear that you and your band have sold your oboe and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Reuben Wilson,
Gabor Szabo,
Marc Almond,
Model 500,
Panda Bear,
CMW,
Eric B and Rakim,
Country Joe & The Fish,
Robert Hood,
Prince Buster,
Steve Hackett,
Motorama,
Interpol,
Kevin Saunderson,
The Skatalites,
Strawberry Alarm Clock,
Danielle Patucci,
Richard Hell and the Voidoids,
David Axelrod,
Gerry Rafferty,
Japan,
Yazoo,
Young Marble Giants,
Section 25,
Mission of Burma,
Icehouse,
Jeru the Damaja,
ABC,
Ultravox,
Clear Light,
Laurel Aitken,
Deakin,
Major Organ And The Adding Machine,
The Slackers,
Sparks,
The Royal Family And The Poor,
X-101,
Stetsasonic,
U.S. Maple,
The Divine Comedy,
The Blues Magoos,
Alton Ellis,
Dead Boys,
The Monks,
The Leaves,
The Shadows of Knight,
Nick Cave & The Bad Seeds,
Oblivians,
Lebanon Hanover,
Skriet,
Sun Ra Arkestra,
Trumans Water,
Newcleus,
the Sonics,
Lonnie Liston Smith,
Ice-T,
Marine Girls,
48th St. Collective,
Aaron Thompson,
Piero Umiliani,
Crash Course in Science,
Reagan Youth,
Kenny Larkin,
Kauko Röyhkä ja Narttu, Kauko Röyhkä ja Narttu, Kauko Röyhkä ja Narttu, Kauko Röyhkä ja Narttu.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.